I have some unofficial news. Word has it that the two Ratmansky pieces -- Humpbacked Horse and Fairy's Kiss -- will be performed in the 08-09 season, and two Balanchine ballets will also make their debut, Tarantella and Violin Concerto. We will see if all four truly happen but that is the current "plan", insofar as the MT has plans...

I have some unofficial news. Word has it that the two Ratmansky pieces -- Humpbacked Horse and Fairy's Kiss -- will be performed in the 08-09 season...

Are we talking about The Little Humpbacked Horse? I believe two versions premiered at MT, the 1895 version by Petipa and the 1945 version by Feodor Lupukhov in 1945. I'll take a "three day wild guess" that they'll perform the latter. The famous 1960 version from Radunsky-Shchedrin probably won't be used, since it was created for the Bolshoi troupe.

By the way, I'm expressing some concern about Irma Nioradze, a principal dancer (who I believe is not currently that active with MT) and a native of Tbilisi, Georgia. Given the very serious situation between Russia and Georgia right now, I hope things are okay for her!

I can't say I know where she is at the moment. I do know that she is extremely well off, married to a rich business man and they have plenty of options. Most likely (I'm guessing) she is still in St. P right now, or at a dacha.

Irma Nioradze is neither in St. P right now nor at a dacha. She is in Riga where “Russian Seasons, 21st century”” will be shown tonight and tomorrow. She is going to dance Tamar in a reconstruction of the Fokine’s ballet. Here is the link to a report with photographs: http://www.intelligent.lv/ru/Nikolaj_ci ... 20923.htmlThe face of the Russian ambassador at a press conference looks rather gloomy – the journalists were asking him about the political situation in the Caucasus.
Nikolai Tsiskaridze told the press that he could not get through on the phone to his former teacher in Tbilisi because the lines had been disconnected.
It is true that Irma Nioradze is not in an immediate physical danger and that her husband is well off but it does not make them immune to the disastrous events that are developing in their native land at the moment. They have a lot to worry about their extended family back in Georgia. Rich or poor, Georgian or Russian or Ossetian – the war affects people indiscriminately. God save them all.

According to the White Nights Foundation of America Fall 2008 newsletter, the Mariinsky Theatre announced they are officially dropping the Kirov name on all future appearances in the USA. I wonder will they do this to all appearances outside Russia, though.

From the perspective of someone here in Petersburg, the double naming convention has been ridiculous, as you never see "Kirov" here anywhere (anymore). I appreciate the efforts towards consistency! It seems to me, as well, that they could/should make that change across the board. Why not?

Thanks for sharing that news, Sacto.

Edited to add: I will ask our powers that be if maybe this forum can act accordingly ... see what they say.

From the perspective of someone here in Petersburg, the double naming convention has been ridiculous, as you never see "Kirov" here anywhere (anymore). I appreciate the efforts towards consistency! It seems to me, as well, that they could/should make that change across the board. Why not?

I'm surprised MT didn't do this as far fack as 1992, since the Mariinsky name came from the fact the theatre was named in honor the Empress Maria Alexandrovna in the first place when it opened in 1860. I wonder has MT publicly talked about celebrating the theatre's 150th anniversary in 2010.

By all typical measures, the September 25th opening of the ballet season might be considered unremarkable. With two ballets that had last been performed on separate evenings in July – “Serenade”, followed by “Symphony in C” – at first glance, the program, at least, seemed to be repetitive. But anyone who drew that conclusion based on the evening’s playbill would have been greatly mistaken. A new era, a new season, and the Kirov (Mariinsky) looks fresh indeed.

With former director Makharbek Vasiev now departed from the ballet, and rehearsal coach Yuri Fateev in his place, the company launched the new season with verve, diving into two neoclassical Balanchine works and leaving their signature Vaganova mark: tidy, accurate, academic, but still lyrical.

“Serenade” never fails to please. Alexander Sergeev’s pinpoint accuracy in his partnering and execution almost outshone the ever reliable Ekaterina Osmolkina in their double work. Sergeev appears to have matured even more over the short summer break, and Osmolkina’s polish was a nice compliment to his efforts. Yulia Kasenkova might have appeared a good casting choice for the jumping-turning soloist role, however her grand jetes barely left the ground and her fingers, pressed flatly together throughout the dance, seemed awkward. Daria Vasnetsova, meek but graceful in her dancing, did justice to her demi soloist role and also appeared in the Dark Angel sequence with Denis Firsov, an old hand at this part. As Osmolkina was lifted overhead in the final sequence, it seemed as if both death and rebirth were occurring simultaneously: the mystery of “Serenade” is unarguably eternal.

“Symphony in C” crowned the evening with four brilliant movements. Its single eyesore was Alina Somova in the First Movement, and in particular her right hand, which sported hyper-extended spread fingers and a constantly bent wrist. More than one audience member was overheard at intermission discussing this oddity. Poor Maxim Zuizin, left to partner the towering Amazon whose flirtatious gaze into the orchestra distracted from the classicism of the piece. Yana Selina and Maria Shirinkina were the two saving graces as demi soloists in this section, their lines perfectly synchronized and their smiles gleaming throughout. With Alexander Sergeev and Maxim Khrebtov as their gallant cavaliers, they had much to smile about indeed.

Cool smoothness was provided in the form of Ekaterina Kondaurova, partnered by Evgeny Ivanchenko in the Second Movement. As she had done in July, Kondaurova epitomized seamless fluidity in this famous adagio section. The petite Elena Chmil and Elena Vasiokovitch partnered by Dmitry Pikhachev and Alexander Klimov fulfilled the demi soloist roles.

In the Third Movement, Olesya Novikova and Leonid Sarafanov burst on stage with bright energy. Sarafanov was intent to toy with the audience’s attention in his signature manner, a clean double tour to the knee, finished with a grin, “tadah!” Olesya found breath in the pauses between steps, lending a grace to the otherwise vivace nature of this section. Behind them Alexei Nedvega and Vasily Scherbakov partnered Evgenia Dolmatova Elena Androsova (who was mistakenly listed as Ksenia Dubrovina in the program.)

Nadezhda Gonchar appeared in royal purple in the final movement, her dancing consistent and reliable as ever. Anton Korsakov, replete with a strangely fluffed out hairstyle, seemed in a world of his own despite his partner’s presence nearby. They were accompanied by Denis Firsov and Karen Iohanessen who partnered Daria Vasnetsova and Anastasia Petushkova, respectively.

Pavel Bubelnikov led the orchestra admirably this evening. From the song that is “Serenade” through the last notes of “Symphony”, one was reminded once again why the Mariinsky is an oasis of artistic wealth inside Saint Petersburg. The home season is off to a good start.

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